Ouyang Xiu: Ouyang Xiu has also made great achievements in poetry creation. His poems are mainly influenced by Han Yu in art. Lingxi Dashi, Shizhuan, Zishiping Song and other works imitate the unique poetic style imagined by Han Yu. Other poems are gloomy and dripping with ink, combining narrative, discussion and lyricism, and their styles are close to Du Fu's, such as Rereading the Collection of Solitary Poems and Sending Du Qigong to be an Official. Another part of the works is magnificent and bold, but it is close to Li Bai, such as "Liu Zhongyun returned to Nankang in the same year of Lushan Mountain". However, most of his works mainly study the characteristics of Han Yu's "writing as poetry", that is, argumentative and prosaic culture.
Characteristics of Su Shi's Ci
1. "Poems as Ci": The formation of bold and elegant Ci
Since Su Shi's bold and unconstrained Ci has broken through the traditional pattern in subject matter, structure, mood, image and connotation, it will inevitably lead to the innovation of its own form. In this respect, it is usually rated as "taking poetry as a word" by scholars. The development of theme indicates the direction from graceful and unrestrained, from "vulgar" to "elegant"
Second, I look at everything: the bold and elegant character image
The image and angle of the protagonist in Su Shi's poems have undergone fundamental changes.
First of all, as far as the image is concerned, most of Su Shi's previous ci works are full of soft-hearted and charming people. Most of them are female images: Huajian and Yan Owen's ci school are mostly upper-class female images, while Liu Yong's works are mostly women who have fallen into the dust, and the male protagonists are mostly lovers who hold hands and look at each other with tears. However, in Su Shi's bold and unconstrained ci, there are either "old ladies" who talk about teenagers, "Sun Lang who shoots tigers", "drunkards who want to go home with the wind", "heroes with heroic posture and hair and feather fans" and so on.
Not only that, from the lyrical point of view, Su Shi further pushed himself to the front of the artistic stage of Ci. Huajian Ci-poetess, like a girl whose heart is not open, is hidden in a thin curtain, showing implicit girlish charm, while Liu Yong, like a dissolute young woman, shows you her wonderful body. Therefore, the former sages said that the beauty of flowers is "inexhaustible" and Liu Yongmiao is "inexhaustible", but they are "inexhaustible" or "inexhaustible", and poets are like directors, only behind the scenes; Or, like the master of shadow play, they operate their beauty performances at the bottom of the stage. Su Shi, on the other hand, is both a director and a hero. He pushes himself directly to the front desk, especially exposes his inner world to the world.
Judging from the four cases mentioned in the previous article, two cases are the poet's self, and two cases are the ancients' symbol of self. You can also cite dozens of self-expression words:
A piece of hometown book came to Wan Li and asked me what year it was. ("recent love")
The night view of the Yellow House at different times is a sigh for Yu Hao. (Yong Yu Le)
I'm an idle guest in the world, and I'm here. ("Nan Gezi")
But it fills me with sorrow. ("Huanxisha")
It is expected that in a passionate dream, it is also uneven to come to see me. (Shui Long Yin)
Write me not only with me, but also with others, and with everything in the world. Looking at everything from the perspective of "I", everything is inseparable from my temperament. For example, "Sentimental wind swept the tide in Wan Li and sent it back mercilessly" ("Bashengganzhou. Send a visit to Liao Zi"). The ebb and flow of tides is natural. In Dongpo's eyes, the word "love" is different, which leads to the delusion of "asking about the Qiantang River, Pukou in the west, and a few degrees of oblique light". This situation, as the poet said, is also
3. Use drunken props: set aside constraints to form unrestrained elegance
Su Shi often uses drunken props in his poems, so that the characters in them can be more chic, detached and free from various rational constraints of human society.
Of course, "wine" can make a word bold, but it is not necessarily a bold word if it is added with wine. Ci was originally the product of the banquet, but it should be said that it began with Su Shi. The effects and feelings of wine on people should be said to be generally similar, but people with different personalities and thoughts will have different feelings after combining with wine. Before Liu Yong wrote the words of wine, there was no famous sentence, and only Liu Yong's "Where do you wake up from the wine tonight, Yang Liuan, the wind is waning" is the most famous. However, drunkenness made him fantasize about the realm of "Yang Liuan, the morning breeze and the waning moon". This is naturally a typical graceful situation. Let's take a look at one of his poems "Journey to the Imperial Street" with wine as the main background (the first part):
Drinking in the Spring Courtyard in the past. Regret to break up. I was drunk in the middle of the night when I came back, and
it aroused old worries. Although watching a horse fall from a building, Zheng Nai is not a mandarin duck companion.
"wine" not only can't make him bold, but "arouses old worries" and pushes his vulgar feelings to the extreme. Drunkenness not only makes Dongpo unconstrained and uninhibited, but also reveals the truth after drinking, or rather covers his face with wine to express his thoughts and feelings that are inconvenient or even impossible to express in normal state.
Fourth, to discuss into words: the way of expression is bold and elegant
Traditional ci poetry is characterized by implication, delicate and in-depth description of the scene, and traditional imagery as the main expression, which rarely expresses feelings directly, let alone directly expresses opinions. In order to better express his inner world, express his feelings, opinions and understandings, and express himself more thoroughly, Su Shi introduced the "argument" commonly used in his poems into his ci, thus becoming an artistic feature of "bold and elegant ci".
A song like Man Tingfang is the whole essay:
"Argument" is just a way of expression, and it is not necessary to write bold words by adding "Argument". It depends on who makes the argument and what kind of emotional "argument" is made. Yi 'an's "Searching, Desperate, Sad and Sad" ("Slow Voice") describes the weak and miserable hearts of women, showing a feminine beauty. However, Su Shi's comments are magnificent and have a bird's-eye view, describing the fame and fortune that the secular values as the root of life as "a hollow horn with a hollow reputation and a small profit", which is full of Su Shi's unique wild wildness: Su Shi's "comments into words" has achieved a perfect combination of boldness and elegance. Such as a song "Nothing to Solve": Life is like a reverse journey, and I am also a pedestrian. (Lin Jiang Xian. Send Qian Mu Fu)
5. Making use of Su Shi's allusion in ci poetry is first related to the use of "argument" in ci poetry mentioned above. Although "discussion" can make Ci-poetry light and clear, and deeply reveal the thoughts and concepts in the heart, it is also easy to lose the implicit beauty and image beauty of Ci-poetry and become dull. The use of allusions can balance this sense of weightlessness, and make image become an image argument in discussion and a new image way. Such as:
Canon: the language is bold and unconstrained, elegant and romantic, and the infantry has loved Dongping all his life. Sometimes, Su Shi expresses his mood and thoughts with historical events and figures, and creates a
bold and lofty atmosphere. For example, Shuidiao Tou: the famous long tune of slow words, Qi's, uses ancient myths and legends to create an ethereal fairyland, and is also a way to write words with events:
VI. Magnificent and magnificent realm: bold and elegant structure
Su Shi often outlines big scenes and big landscapes with big words, big numbers, great spirit and big hands. The characteristics of these aspects are often closely combined with the five aspects mentioned above.
For example, a song titled "Shuidiao Tou. Huangzhou Kuaizai Pavilion ...":
VII. Broad-minded philosophy of life: the foundation of unrestrained elegance
In the above analysis of "Life is like a dream", it is not difficult to trigger a deeper ideological connotation. That is to say, Su Shi's unique attitude towards life in Su Ci is detached, chic, gloomy or lofty, which constitutes a bold factor. Some scholars put these words into another book, which is called "Qing Kuang", or "Super Kuang" and "Broad-minded".
The masterpiece in this respect should be the poem "A misty rain will last a lifetime" and "No rain or shine".
The most important contribution of Liu Yong's ci is the mature use of the characteristics of long-tune ci, which is suitable for narrative, rich in levels and changeable, and integrates lyric, narrative, reasoning and scenery writing into one for future generations, accommodating more complicated connotations and opening up a new way.
Qin Guan's ci "History of Song Dynasty" was rated as "literary and thoughtful". His poems are good at lyricism. Taosun Ao's "Poetry Review" said: "Qin Shaoyou is like a woman who swims in the spring, but she is eventually weak." He is a well-known graceful poet in the late Northern Song Dynasty. Most of his ci poems describe the love between men and women and express the sadness of frustrated official career. His words are skillful and meticulous, and his melody is harmonious and beautiful.
He Zhu is not only bold and unconstrained, but also an excellent dancer who makes shackles a prop. From the lyrical way, he pays more attention to the traditional aesthetic characteristics of ci: or drawing on the lingering charm of Chu Sao, he writes the grief and indignation in a way of comparison and sustenance; Or be hard and soft, and write tenderness with a healthy pen. This poetic feature shows the change of the concept of He Zhu's notation.
The characteristics of Zhou Bangyan's ci are: he was the most important poet in the late Northern Song Dynasty, and he was also an influential poet in the history of Ci in the Song Dynasty.
(1) The feeling of being in exile has become an important theme in his poems, with a sentimental tone, such as Man Tingfang? In summer, I don't want to make a mountain. (2) He is good at narrating, and is good at increasing and changing the angle and level of narrating, changing from direct narration to qu narration, with strict composition and complicated structure, such as Warrior Lanling? Willow. Also use the brushwork of sketching, sketching and describing from different angles, flashing back and forth, and deepening layer by layer, such as "Six Ugliness?" Rose Xie Hou Zuo ","Six Ugliness? Rose Xie Hou Zuo ". With exquisite brushwork, the story is repeatedly described from front to back, left and right, and it is sketched with meticulous brushwork, which shows a ray of love for flowers incisively and vividly, with delicate feelings and twists and turns in structure. This first word embodies the general characteristics of Zhou Bangyan's ci. The so-called "excellent in narration, rich in beauty and exquisite in workmanship" (3) is exquisitely carved, with strict temperament and more elegant and upright style.
The most remarkable artistic achievement of Xin Qiji's ci lies in enriching, consolidating and developing the bold and unconstrained ci style initiated by Su Shi. Xin Qiji wrote a lot of heroic words and heroic words, and only then did the bold and unconstrained style become a big country and became a formal school, and Xin Qiji's creation became a representative of this school. As Liu Kezhuang and Wang Shizhen commented, "CCBA has made loud cymbals, whispered cymbals, crossed Liuhe, and swept away all ages, which has never been seen since the beginning of life." ("Introduction to Xinjiaxuan Collection") "Graceful and restrained with Yi 'an as the Sect, bold and unrestrained with only young and safe as the first." (Flowers and Plants Bloom)
In order to create a bold style of ci, Xin Qiji used a series of corresponding artistic means.
He is good at creating a vivid and lively artistic image. The characters in his works are often generous, sad and heroic. He wrote that his great ambition is "colorful sleeves, and he will make up for the northwest in the future." ("Man Jiang Hong") He wrote that his vigorous skill is: "Lu Fei, who is made of horses, is as frightened as a thunderbolt." ("Broken Array") He wrote that his madness is "Looking back, the clouds are flying, and I don't hate the ancients for not seeing me, and I hate the ancients for not seeing my crazy ears." ("He Xinlang") He wrote that others and the ancients mostly "swallowed Wan Li like a tiger." ("Eternal Joy") Most of the scenes in his works are flying spectacular scenery. Just like a mountain, he wrote: "The mountains are eager for the east, and the mountains are eager for the east" ("Qinyuanchun"), "The green hills are eager to talk to others, and the horses are countless" ("Bodhisattva Man"), and the static mountain situation is written as a galloping dynamic, which is extremely unrestrained. He is good at using romantic imagination and symbolism to strengthen bold colors. For example, "Water Tune Song Tou" says: "I aim to be broad, and I dream of going to heaven in the past. Sitting on the moon, the world has been pitching for thousands of years. " Its romantic and unrestrained style is almost equal to Li Bai, a poet. Another example is Tai Chang Yin, which says, "It's easy to go by the wind, and look down at the mountains and rivers in the sky of Wan Li. When you go to Guangxi, the humanity is that there is more light. " The thoughts and feelings expressed in the three sentences of "riding the wind" are exactly the same as Qu Yuan's "sudden visit to his husband's old hometown", while "wandering to Guangxi" means a lot, and Qin Gui is not the only one. (Zhou Ji's Selected Poems from Four Schools)
He is good at using the method of jumping and stumbling to enhance the span of time and space and the ups and downs of feelings, especially at casting the most dignified feelings in the beginning and end. For example, the words "more can be eliminated" at the beginning of "Touch the Fish" (see the quotation below) are reversed after thousands of turns, which is really powerful. "("Bai Yu Zhai Ci Hua ") and at the end, the feeling of resentment is turned into the declining scenery of" the setting sun is setting, and the willow is heartbroken ",which makes the artistic conception of the whole word more profound. Another example is "Breaking the Array, Giving Strong Words to Chen Tongfu", which lists several strong things such as "watching the sword while drunk", but the last sentence "pitiful white occurrence" contains infinite feelings, which makes people unbearable to read.
The bold and unconstrained style of Xin Ci is often expressed through various forms. It is "correct and changeable, changeable and adaptable, and transformed without losing its original tone, and it can win all kinds of tones without losing its original tone". (Hu Yinglin's Poems) This kind of bold "tone sandhi" (to borrow the words of critics, critics often take graceful and restrained as the authentic tone sandhi) can often better show the inner temperament and natural style of Xin Ci.
Li Qingzhao's characteristics are as follows:
1.
the true feelings are the bones of words, and the feelings of words are really valuable. Before Li Qingzhao, most graceful and restrained ci writers wrote about amorous feelings and deep feelings with men, while Li Qingzhao was the first person who achieved unprecedented success by writing about self-love, sorrow and joy and the great changes in his home country with women as the standard. His early love words, such as Pruning a Plum, Remembering and Blowing Xiao on the Phoenix Platform, are full of emotion and nonsense, and their natural frankness can best reflect the pure and delicate spirituality of women, which is incomparable to the love words that male writers have made for generations. In his later period, he wrote sad and disorderly words, such as Wulingchun, Slow Voice, Eternal Joy, Lonely Goose, etc., with blood and tears in every word, which was full of sadness and shock. This "load" of "many worries", endless "thousands of tears" and "miserable" These sad songs, which blend the changes of home and country and the vicissitudes of the times, come from affectionate poets and are rooted in real life feelings. They are the reflections of Li Qingzhao's bumpy life, tragic life and disaster times.
second, smelting idioms.
The language of Shu Yu Ci has a distinctive personality. Liu Yong was a pioneer who introduced Ci to the market. His words were popular and clear, but he was good at expressing himself, and occasionally involved in butterfly silence. Zhou Bangyan changed slang into elegance, and his words were exquisite and meticulous. Li Qingzhao created a literary language with natural frankness as its main feature. As the saying goes, "Use vulgar language to make fresh thoughts" (Peng Suntong's Jin Su Ci Hua). This kind of language is an impact on the elegant ci style in the late Northern Song Dynasty. For example, "I am afraid to leave my arms, and how many things I want to talk about" ("Recalling Xiao Feng on the Wind Burning Platform"). As if inadvertently, blurt out, but carefully appreciate, but the meaning is multi-layered, very fine. Relatives are far apart, and there are thousands of words to say; Breaking up is fixed, and there are many worries. What's the use of saying it? It's hard to say goodbye to hate